Course:

Licenciatura em Tecnologias da Música

Profile(s):

Branch(es):

Contact Hours per Semester:

30

Scientific area:

TM

Curricular year:

2

Semesterly/Yearly:

Semestral

Option:

[""]

ECTS:

3

Type (1):

PL

Teacher responsible for the Curricular Unit:

Sérgio Henriques

Time allocation for the C.U.:

30

Other teachers and time allocation for the C.U:

Learning Outcomes (knowledge, aptitudes and skills to be developed by the students)

Acquisition of theoretical support and practical skills in reproduction, capture, recording, editing, mixing and audio mastering. Sound production equipment such as analog and digital mixers, microphones, DI boxes, equalizers, dynamic processors (comp., Limit, expansion, noise gates), effects processors, RF (capture and monition) and recording systems. Use of different DAWs (Protools, Reaper, Cubase, among others) in recording and mixing. Application of capture, recording, mixing and mastering techniques in various experimental situations in the studio, with ESML music students and other invited musicians, and later critical listening. Acquisition of autonomy and notions of teamwork in the preparation and realization of recordings. Development of sound analysis and objective listening skills. Creation, development and management of music production projects.

Syllabus:

The sound studio: organization and maintenance, essential notions of acoustics, the team. The burning process: preparation and execution steps. Microphones: types, applications, mono, stereo and multichannel capture techniques, selection criteria and analysis of technical specifications. Basics of analog and digital audio. Characterization of reproduction and recording systems. Audio processing units. Synchronization between playback and recording equipment. Time code: MIDI, SMPTE. Automation and remote control. Studio monition: types, design and calibration. The mixing process: preparation and organization of sessions, techniques, variables, objectives, methodological care and operation and operation of dedicated equipment. Mastering: techniques of equalization and dynamic processing in favor of spectral representativity, dimension and depth. Sound reception, intelligibility and psychoacoustics.

Demonstration of the Articulation of the Programme Contents with the Objectives of the C.U.

Students should develop practical skills in situations of reproduction, capture, recording, editing, mixing and mastering audio in the studio. The contents of U.C. on the one hand, meet the acquisition needs of theoretical knowledge by the students and, on the other, make it possible to apply it in several practical exercises, in the sense of preparing them for real situations in the studio.

Teaching and Evaluation Methods:

Group / Class An expository theoretical component starts all classes. The practical activities proposed are aimed at preparing students for different professional contexts of studio work. All are called to intervene individually and in groups, with diversified and stimulating exercises with the concern of fostering team spirit. Each student is evaluated individually in the practical component (procedural test) and in the theoretical section (theoretical test). Final assessment: • practical test (P); theoretical test (T). AV = (Px0.5) + (Tx0.5) Maximum absences to take advantage of continuous assessment: 3 (except student workers). Students who have not completed the Continuous Assessment or fail for faults may present the Exam in the Normal Season and if they fail, they may still be present at the Appeal Time. Students who have failed the Continuous Assessment may take the Exam only at the Appeal Time.

Demonstration of the Articulation of the Teaching Methodologies with the Learning Objectives of the C.U.:

Students should develop practical skills in situations of reproduction, capture, recording, editing, mixing and mastering audio in the studio. The contents of U.C. on the one hand, meet the acquisition needs of theoretical knowledge by the students and, on the other, make it possible to apply it in several practical exercises, in the sense of preparing them for real situations in the studio.

Bibliography:

Benade, Arthur H. (1990), Fundamentals of musical acoustics, second, revised edition, Dover. Glen Ballou (1987). Handbook for Sound Engineers - The New Audio Cyclopedia. SAMS. John Eargle (2011). The Microphone Book. Focal Press. Bobby Owsinski (1999). The Mixing Engineer’s Handbook. Mix Pro Audio Series. Mike Shea (2005). Studio Recording Procedures. McGraw-Hill.